It’s a snowy night and the weather has left a collection of people stranded at a bus stop in Missouri. That’s the setting of William Inge’s Tony-nominated 1955 classic that is currently being performed at Pinckney’s Dio Theater.

Three sets of romantic entanglements ensue with various levels of consent and age over a single evening from approximately 1 a.m. to 5 a.m. The cowboy Bo Decker wants to sweep the unwilling Cherie off to Montana to marry him, Dr. Lyman creepily seduces the high school student Elma Duckworth, and the diner owner, Grace, and the bus driver, Carl, sneak off for a late-night rendezvous. Observing and offering sage advice are the older cowboy, Virgil Blessing, and the local sheriff, Will Masters.

Directed by the busiest man at the Dio, Steve DeBruyne also served as the afternoon’s waiter and with 24 hours notice, had to step into the role of Dr. Lyman. With no script in hand, he took on the part of the wandering professor who frequently has to leave town because he preys on young girls such as Elma. His performance was spine chilling and made one want to go home and shower and lock up any teenage girls of one’s acquaintance away from the evils of the world.

This was an ensemble that worked all the way through. Peter Crist’s Bo Decker was filled with bluster and underwent a beautiful change in the second act, showing that Crist has a fine range as a dramatic actor. Elizabeth Jaffe was sweet rather than seductive as Cherie, a vulnerable nymph who at 19 needed protection not just from Bo, but from the world in general.

Andrew Gorney made Will one of the most likeable characters on stage, a sheriff who took seriously his duty to care for people and did so without any ego or bluster. He was Bo’s opposite and commanding in his quiet calm.

Stephen Dean’s Virgil shined when called upon to perform in a show during act two. What was most impressive about Dean’s performance was that he knew how to be a supportive, giving actor. He gave an imperceptible fade with his performance so the audience could focus on the fight taking place between Bo and Cherie. Like Virgil, Dean knew when to step aside and when to be gentle in his performance and quiet in his presence.

Jacklynn Cherry gave a Pollyannish innocence to Elma. The waitress was always outgoing, optimistic and ready to believe the best in others. Cherry made sure Elma always had a smile. Unfortunately, she goes through very little change even when the more worldly Grace informs her of what was going on. Rather than being the Red Riding Hood who says it is nice to know a lot “and a little bit not,” Cherry was perfectly happy in her new knowledge without even a twinge of worry about what she had just escaped. She ends the play as vulnerable as she begins it and her smile is still plastered on her face.

The Dio, with its delicious buffet of foods home prepared by Chef Jarod, is an intimate space with limited seating. It was at first distracting to see face mikes on all of the actors. It seemed unnecessary for the space in a non-musical production. However, lighting and sound designer Matthew Tomich is to be commended because the mikes were perfectly executed. Even during the stage combat scenes, there was never any stray noises or audio feedback.

With the show set in the 50s, hair and makeup designer Thalia Schramm did an especially nice job on Cherie’s hair, evoking the finger-curl hair style of the era that a night club singer might sport.

The Dio’s rendition of the William Inge classic is a good one. The ensemble connects well and each creates very different characters that attract and clash and experience life-changing moments. It is often touching and gives the audience much to think about in terms of love, loneliness, and wooing. All very fitting topics for the short, cold month of love.

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